Innovative Work

Throughout the centuries, women have kept their innermost feelings and agonies hidden deep into the recesses of their minds… These turmoils remain unnoticed, untouched, unraveled…

Inner voice… A special gift from god to human being.. An ability to differentiate between the right and the wrong.. The just and the unjust.. the pure and impure…

In this composition, there are four different CHATURANGs from four different Raagas (Yaman, Jaijayvanti, Adana and Bhairavi) with four different vivid weaves to each composition.

‘Saransh’ means ‘the essence’… This is an effort to try and relate the Kathak aesthetic to the dynamics of different music streams… Kathak idiom and form is very flexible and adaptable…

This is an effort to establish a contemporary context to the stories – ‘Kaliya Daman’, ‘MakhanChori’, ‘Govardhan Leela’, ‘Kansa Vadha’ and ‘Gopi Vastraharan’ – which otherwise are portrayed in a linear manner…

Shama Bhate seeks to aesthetically meld the different forms of Indian classical dance -Kathakali, Odissi, Mohini Attam, Kuchipudi, Kathak, Bharat Natyam, Chhau with their different stylizations, costumes and even music

An insightful seer, a sentimental poet, an ultimate devotee or an eloquent artist…who exactly was Meera? Meera was a committed devotee of Lord Krishna.

A unique blend of classicism and grandeur, showcasing a wide spectrum of sixty dancers in a grand spectacle, is Kathak Infinite. Kathak presented with a large number of dancers without losing the character

The depiction of an important historical figure from recent history, Ba Kasturba Gandhi, raises several questions for classical dancers… questions that do not appear significant when these same dancers enter the imagined world of